Photography is a way of putting distance between myself and the work which sometimes helps me to see more clearly what it is that I have made.

People are the nature of the city, and you can feel it in the pavement.

I go way beyond just the wood and stone but to the process of growth and farming and the tensions between the two.

Time gives growth, it gives continuity and it gives change. And in the case of some sculptures, time gives a patina to them.

There's a huge number of things that are occurring with the ice works which fascinate me enormously, but it's driven by this kind of frantic race against time. And whilst that creates a huge amount of tension and problems, it's a tension that I think I feed off.

The main source of my income is through the commissions of the large-scale works and big sculptures, the projects.

Abandoning the project was incredibly stressful after having gone through the process of building the room, installing the kiln, collecting the stones, sitting with the kiln day and night as it came to temperature, experiencing the failures.